Vienna Nights 1



Richard Wagner
1813-1883

Richard Wagner
Tristan und Isolde, Prelude and Liebestod

Few musical works had such a profound effect on the development of Western music in the late-nineteenth to early twentieth centuries as did Richard Wagner’s opera Tristan und Isolde. Completed in 1859, it had to wait six years to find a sponsor for the staging of this nearly five-hour extravaganza. It was not the length of the opera, however, that was groundbreaking, but rather the composer’s stretching the limits of the tonal language that had characterized Western music since the mid seventeenth century. The opening measures of the Prelude introduce a chord progression that was literally meant to be a musical representation of unfulfilled sexual tension and does not resolve until the final cadence, four hours later, when Tristan and Isolde are finally united in death.

The legend that served as the basis for Wagner’s libretto dates from the medieval romance of Tristan and Iseult, but Wagner changed it significantly in his libretto. While in the original story the ingesting of a love potion brings about the forbidden and fatal attraction between Tristan and Iseult, in Wagner’s version the two are already smitten with each other before the action begins and the love potion might just as well have been water. Only their belief that it is a death potion allows them to indulge in their passion. The unresolved chord sets up the grand symbolic message of the opera that it is not in the satisfaction of carnal passion that provides release but only a “marriage” in death.

The Prelude plus Liebestod (love-death) is actually an instrumental mini-version of the opera, opening with the unresolved harmony,

which is resolved at the end of Isolde’s musical monologue as she sinks lifeless over the body of her lover.

With 20/20 hindsight, we know that by the late nineteenth century, composers were approaching the limits of traditional tonal harmony and were well on their way to discarding it altogether. But Wagner’s audience and colleagues lacked that perspective.



Gustav Mahler
1860-1911

Gustav Mahler
Rückert Lieder

The German Romantic poet Friedrich Rückert (1788-1866), linguist and Orientalist, was one of Gustav Mahler’s favorite poets, and he set a number of his poems to music, including the Kindertotenlieder (Songs on the Death of Children). Mahler composed four of the five Rückert Lieder in 1901, initially with piano accompaniment, but immediately orchestrated them. He was in his fifth year as musical director of the Vienna Hofoper, a prestigious post he accepted even though it meant converting to Roman Catholicism to allay the anti-Semitism rife in Austria. In 1899 he took on the added position of conductor of the Philharmonic concerts but in 1901 had to relinquish this duty as a result of a serious illness and his inability to get along with the orchestra. These setbacks, however, did not prevent him from experiencing a burst of creativity during the summer, when – in addition to four of the Rückert Lieder – he also completed the Symphony No. 4, started on No. 5 and composed three of the Kindertotenlieder. Mahler composed a fifth Rückert Lied, “Liebst du um Schönheit?” (Do you love for beauty?) a short while later, but never orchestrated it.

Mahler’s Rückert Lieder do not form a cycle and there is no conventional order in which they are to be sung. Each song is distinct from the others in subject matter, structure and orchestration. Although the musical form is strongly conditioned by the poetic structure, Mahler uses different ways to vary the traditional strophic organization.

"Blicke mir nicht in die Lieder” (Look not into my songs) warns the listener not to be too inquisitive about the process of artistic creativity since only the finished work matters. The analogy made with the work of bees in the second stanza provides Mahler with the basis for his musical tone painting. A brief introduction establishes a perpetual motion with a subtle buzzing produced by muted strings without double bass, single woodwinds and a horn.

"Ich atmet’ einen linden Duft" (I breathed a gentle fragrance) musically evokes the delicate fragrance of the lime tree which the poet associates with his beloved. The orchestration is extremely delicate, often one instrument at a time, even dropping out momentarily when the poet first senses the fragrance. The continuous even motion in the strings suggests the quiet wafting of the scent through the air.

The settings of the two stanzas share musical material, but are not strophic.

The poetic theme of "Ich bin der Welt abhanden gekommen" (I have been lost to the world), one of Mahler’s most beautiful and moving songs evokes the peace achieved through the poet’s withdrawal from the turmoil of the world into his heaven, his life, and his song. The comparatively long introduction is used as both an interlude and a counterpoint with the singer. It features that orchestral symbol of isolation, and often desolation, the English horn, with an arch-shaped melody that moves upward from a simple two notes, to three, and then more rapidly to the line’s melodic peak, followed by a descent that completes the arch.

The voice then repeats the melody, in a dialogue with the English horn.

Mahler sets the song’s three stanzas irregularly by repeating the interlude after the third line of the first stanza with only the shortest break between the last line and the first line of the second stanza. The second stanza presents a passionate contrast as the poet declares himself dead to the world.

The final stanza begins with the song’s main theme but continues with new musical material leading to the climax, the poet’s song. The English horn concludes the song echoing the final line of the voice.

"Um Mitternacht" (At midnight) recounts the poet’s battle with darkness (in both its literal and figurative sense) until he finally gives up his search and commends himself into the hands of God. Three central instrumental motives are introduced in the opening bars and form the foundation for much of the song: a three-note dotted figure in the clarinets; a rising and falling dotted figure in the flute and an even descending scale in the horns, mirrored by an ascending scale in the voice.

While the poem has five regular six-line stanzas (the first and last line of each are “Um Mitternacht”), Mahler sets each of them to different music. In musical imitation of the poet’s persistent striving, he sets each stanza with new music. The final stanza, the transcendent moment in which he finds his answer through surrender to the "Lord of death and life," concludes with triumphant brass fanfares, harp glissandi and a resounding plagal (“church”) cadence.

The most traditional of the songs, "Liebst du um Schönheit" (If you love for beauty), was the last composed and was left unorchestrated by Mahler, but an orchestration by Max Puttmann, who worked for Mahler’s publisher, is frequently performed. Of the five, it is the most strophic in form, with the four stanzas presented in pairs, separated by a short orchestral interlude. The first three stanzas are closely related one another,

while the fourth begins as if it were simply to repeat the pattern, but then underscores the message of the song by stressing and expanding the melody on the words "Liebe" (love) and "immer" (always).

Clara Schumann set this poem to music as well.


Blicke mir nicht in die Lieder Blicke mir nicht in die Lieder! Meine Augen schlag' ich nieder, Wie ertappt auf böser Tat. Selber darf ich nicht getrauen, Ihrem Wachsen zuzuschauen. Deine Neugier ist Verrat! Bienen, wenn sie Zellen bauen, Lassen auch nicht zu sich schauen, Schauen selbst auch nicht zu. Wenn die reichen Honigwaben Sie zu Tag gefördert haben, Dann vor allen nasche du!		Look not into my songs! Look not into my songs! My eyes I lower, as if I've been caught in a misdeed. I can't even trust myself to watch them grow. Your curiosity is treason! Bees, when they build cells, do not let anyone observe them either; even themselves they do not observe. When the rich honeycombs have been brought out to the light of day, then you shall taste them before everyone else!

Ich atmet' einen linden Duft! Ich atmet' einen linden Duft! Im Zimmer stand Ein Zweig der Linde, Ein Angebinde Von lieber Hand. Wie lieblich war der Lindenduft! Wie lieblich ist der Lindenduft! Das Lindenreis Brachst du gelinde! Ich atme leise Im Duft der Linde Der Liebe linden Duft.		I breathed a gentle fragrance! I breathed a gentle fragrance! In the room stood a sprig of the linden tree, a gift from a dear hand. How lovely was the linden fragrance! How lovely is the linden fragrance! That linden twig you broke off so gently! Softly I breathe in the fragrance of linden, love’s gentle fragrance.

Ich bin der Welt abhanden gekommen Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben, Sie hat so lange nichts von mir vernommen, Sie mag wohl glauben, ich sei gestorben! Es ist mir auch gar nichts daran gelegen, Ob sie mich für gestorben hält, Ich kann auch gar nichts sagen dagegen, Denn wirklich bin ich gestorben der Welt. Ich bin gestorben dem Weltgetümmel, Und ruh' in einem stillen Gebiet! Ich leb' allein in meinem Himmel, In meinem Lieben, in meinem Lied!		I have been lost to the world I have been lost to the world with which I used to waste so much time, It has heard nothing from me for so long that it perhaps believes that I am dead! It is of no consequence to me Whether it thinks me dead; I cannot contradict it, for in truth I am dead to the world. I am dead to the world's tumult, And repose in a quiet realm! I live alone in my heaven, In my love, in my song!

Um Mitternacht Um Mitternacht Hab' ich gewacht Und aufgeblickt zum Himmel; Kein Stern vom Sterngewimmel Hat mir gelacht Um Mitternacht. Um Mitternacht Hab' ich gedacht Hinaus in dunkle Schranken. Es hat kein Lichtgedanken Mir Trost gebracht Um Mitternacht. Um Mitternacht Nahm ich in acht Die Schläge meines Herzens; Ein einz'ger Puls des Schmerzes War angefacht Um Mitternacht. Um Mitternacht Kämpft' ich die Schlacht, O Menschheit, deiner Leiden; Nicht konnt' ich sie entscheiden Mit meiner Macht Um Mitternacht. Um Mitternacht Hab' ich die Macht In deine Hand gegeben! Herr! über Tod und Leben Du hälst die Wacht Um Mitternacht!		At midnight At midnight I awoke and gazed up to the sky; No star in the throng of stars smiled down at me at midnight. At midnight My thoughts went out to the dark barriers. No thought of light brought me comfort at midnight. At midnight I paid close heed to the beating of my heart; One single pulse of agony flared up at midnight. At midnight I fought the battle, Oh Mankind, of your sufferings; I could not decide it with my power at midnight. At midnight I surrendered my power into your hands! Lord! over death and life You keep watch at midnight!

Liebst du um Schönheit Liebst du um Schöheit, O nicht mich liebe! Liebe die Sonne, Sie trägt ein gold'nes Haar! Liebst du um Jugend, O nicht mich liebe! Liebe den Frühling, Der jung ist jedes Jahr! Liebst du um Schätze, O nicht mich liebe. Liebe die Meerfrau, Sie hat viel Perlen klar. Liebst du um Liebe, O ja, mich liebe! Liebe mich immer, Dich lieb' ich immerdar.		If you love for beauty If you love for beauty’s sake, Oh, do not love me! Love the sun, it has golden hair! If you love for youth’s sake, Oh, do not love me! Love the spring; Which is young every year! If you love for treasure’s sake, Oh, do not love me! Love the mermaid; She has many bright pearls! If you love for love’s sake, Oh yes, do love me! Love me always, I'll love you evermore!



Pyotr Ilyich Tchaikovsky
1840-1893

Pyotr Ilyich Tchaikovsky
Symphony No. 4 in F minor, Op. 36

Throughout his creative career, Tchaikovsky’s inspiration went through extreme cycles tied to the frequent bouts of deep depression and self-doubt from which he suffered. The composition of this symphony in 1877 was strongly influenced by the events that happened in his life that year.

Things were actually looking up for Tchaikovsky during the early part of 1877. He had his first contact with Nadezhda von Meck, the wealthy widow of a railroad builder, who fell in love with Tchaikovsky’s music and arranged to pay him a large annual stipend. The only stipulation she attached to her generous help was that they never meet in person, although they corresponded voluminously. In May he started work on the Fourth Symphony, but in July came his disastrous marriage to one of his students, Antonina Milyukova, who had fallen madly in love with him and had written to him confessing her devotion. Although Tchaikovsky, who was homosexual, didn’t even remember the girl, he hoped the marriage would still the rumors about his sexual preference. Instead he fled Antonina after two weeks. In total despair, he made a pathetic attempt at suicide (he walked into the Moskva River, hoping to die of pneumonia) and ended up with a complete mental collapse. To recuperate, his brother took him to Switzerland and Italy, where he picked up work on the symphony, finishing it in January 1878.

Tchaikovsky dedicated the work To Mme. von Meck, expressing his confidence in the new work: “I feel in my heart that this work is the best I have ever written.” He himself did not return from abroad for the February 1878 premiere in Moscow, which was only a luke-warm success.Tchaikovsky himself contributed to the notion that the Symphony was programmatic. He wrote to his patroness:

Of course my symphony is programmatic, but this program is such that it cannot be formulated in words. That would excite ridicule and appear comic. Ought not a symphony—that is, the most lyrical of all forms—to be such a work? Should it not express everything for which there are no words, but which the soul wishes to express, and which requires to be expressed?

In Tchaikovsky's last three symphonies, motivic unity among the movements was to take an increasingly more prominent role. The symphony opens with a sinister fanfare theme by the brass, which recurs as the movement unfolds.

The anxiety-laden main theme, which Tchaikovsky develops on the spot, strives towards a resolution that continually seems to elude it.

The relief comes with the second theme, one of Tchaikovsky's inimitable melodies, a waltz for solo clarinet,

and a third played in counterpoint with the clarinet theme by the strings and timpani.

The development, based exclusively on the main theme and the fanfare, begins quietly, slowly ramping up the emotional tension. After the recapitulation, the fanfare announces a long two-part coda with a new theme set contrapuntally against the main theme to resolve the movement on a more positive note.

But just as we are starting to sit back and relax, the fanfare returns to blast us back into Tchaikovsky's stormy reality.

The second movement, by contrast, opens with a plaintive melody on the oboe, accompanied by pizzicato strings.

The oboe theme is answered by a more intense second theme in the strings.

The pace picks up as the composer adds a dance-like melody.

Typical Tchaikovsky anxiety mounts,

until he returns to the gentle oboe theme now in the violins, adorned with feathery ornaments in the winds recalling the accompaniment to the clarinet theme in the first movement.

The third movement, Pizzicato ostinato, is a playful diversion.

It is a typical scherzo and trio. The Trio consists of a medley of tunes, the first for a pair of oboes,

the second, slightly mournful Russian folk tune, also for the upper winds,

and a playful brass riff with staccato playing to match the pizzicato strings from the Scherzo.

The movement ends with a medley of the various themes and instrumental combinations.

While one hears subtle references to first-movement musical ideas in movements two and three, Tchaikovsky explicitly unifies the Symphony in the Finale. This last movement is the most “Russian” of Tchaikovsky’s symphonic movements and is something of a musical battle between the festive and the melancholic. After a festive opening theme,

the oboe and bassoon introduce an authentic Russia folk-song (for which he was roundly condemned by his academic colleagues and the critics).

Once again, however, a sprightly mood turns negative,

and it is hardly surprising that the movement is brought up short towards the end by the reappearance of the grim fanfare from the opening movement – the spectre at the feast.

An energetic coda, however, tips the balance towards positive territory.

Long Beach Symphony Orchestra 2011-2012 Season